Be advised: at 1:04 I got carried away and made a mistake: it should be E# rather than Ex (E double sharp). EDIT: like Matt K West says somewhere else in the comments below... it was an "accidental mistake" lololol :)
There is no channel that is both quirky and well taught as this one. I love taking notes and laughing over musical subject how could my day get any better?
A good example of tritone modulation is in Bohemian Rhapsody. The transition from solo to opera was a tritone apart and they modulated using a long , decending bassline
The Ministry of Lost Souls by Dream Theater employs a tritone modulation of sorts in the outro solo, but also uses chromatic mediant modulation to connect the original key and the tritone key. It starts in A minor, transitions through the chromatic mediant of C minor, and then into Eb minor, the chromatic mediant of C minor. So the ending is a tritone away from the starting point.
1. Ex is actually enharmonic to F# with 12 tones. 2. Notice that the tritone substitute of a key has chords on both notes immediately adjacent to its root, then move up a semitone into the V of the new key.
To ease the transition to the (#4/b5) takes away the stark contrast. The waiting to resolve is an approach unto itself. You are genius, sir. I can die now. Carry on!
That last sequence using borrowed chords as a segue to enharmonic keys sounded like a Brian Wilson trick at first blush. I have to give you a ton of credit my man. I have been playing guitar for over 30 years and can play a number of other instruments that I picked up along the way, but I have learned more interesting and highly applicable bits of music theory in the past 6 months or so from just having subscribed to your RU-vid channel - than I did in the first 6 years of my playing the instrument. Keep up the excellent content Cheers
"Follow My Way" by Chris Cornell has an epic modulation from Bb to E in the chorus. It just goes Bb - Dm - A - E. Works really well in the context of the song. Definitely recommend checking it out.
Man you are an encyclopaedia of music theory with a talent for packaging complex ideas in a way that makes perfect sense to those of my own ilk, I.e. the musically dyslexic. If I had you as my teacher 30 years ago I could travel back in time and be Mozart. I would also need a time machine and be Mozart. Speaking of unattainable wishes, if I had some chips, I could have fish and chips if I had some fish. Well that’s a straight red card for being far too silly, seriously though, you’re the best guitar theory teacher I’ve ever come across, and by some distance. Thank you.
Something you can also do to modulate from c-f# (or other keys a tritone away) is use chords a major third apart, so for example in C that would be, CM-EM-G#M-C#M-F#M.
I love this channel so much. In the project I'm working on now, I've used diminished chord modulation, chromatic mediants, and even some negative harmony tricks.
Totally agree about direct modulation. You should always feel free to just 'go for it' and see what happens, rather using the intellect immediately. Often it works or you can make it work, but perhaps in a way which you can't understand in terms of your formal understanding of music theory.
@@MusicTheoryForGuitar ah yes, but the last chord of the chorus is A, while the first chord of the verse is D#, so I always was kinda struck by the tritone interval between them.
The Ab would be a chromatic median but, chromatic median chords can be great for modulation. The voice leading is usually super smooth and you can get to just about any key. Chromatic medians are some of my favorite chords to utilize. I love how the voice leading usually works out. You can get some very cool and interesting sounds with these chords. If you like augmented & lydian tonalities, chromatic medians are your friends.
Outstanding video! All are great! This one is totally practical application! As a solo guitarist (sometimes, I work with bands, too.) this info is invaluable! Makes total sense. Thanks so much! Wayne
So if you can modulate with chromatic, diminished, augmented, and tritones, basically any chord whose intervals are a factor of 12 can be used to modulate a key.
As the F# is a tritone away from C, which means its the same distance if we go up and down. Can we modulete down three whole steps as well as down two minor thirds? So the modulation would look something like: C - Bb - Ab - Gb or C - A - Gb
Nice video! I must admitt I was doing even easier. I took just those tones/notes, which are only in common and use only them. In your case: F B, but to give it more texture, I would use F octave 3 (F3), B octave 4 (B4) and F octave 4 (F4), this will create a kind of unison F over B. This can be done also B3, F4, B4 - unison B over F. Or a bit tricky to play on Guitar, but possible F3, B3, F4, B4 or B3, F4, B4, F5 - either as 4 tone chords or arpeggios. Additionally I recognize, that this modulation even if is quite smooth, creates tension, but played over 2 bars (instead of one) removes tension. I am not saying is the best solution but worth to try :-).
Altered chord can be ambiguous term. "Usually" it refers to the 9th and 5th of a dominant chord. Meaning, the 5th or 9th has been flattened or sharpened in a dominant 7th chord.
Do I understand correctly? When you say the V chords are "altered," you mean that the fifth tone has been raised or lowered one chromatic degree and the ninth tone has been raised or lowered one chromatic degree. Yes?
So, if a song is in F# min Key, and the "bridge" part presents these chords chain C#Maj->DMaj->Eb min->EMaj, what type of modulation is It? I can't figure it out. Thanks for your help.
Hi. I started watching, But had to leave it right after you wrote the sharp version for the flat key of Gb. In the Last note of the F sharp major key, you wrote E “double sharp” But in that case of F sharp major, the seventh now should just be E sharp not double sharp right ?
The major seventh in the key of F# is not Ex, it is E#. There are no double sharps in any major scale. Of course I know that this was just a slip of the white board. :-)
Am i the only one who hears the example at 4:07 to be in B major? The C# chord that is supposed to be the dominant chord sounds more like a secondary dominant to me leading to the V of B major, with that being F#.
MODAL ARPEGGIOS AND GUITAR TRICKS WITH THEM LESSON PLEASE...............................................................................................................................................................................................
The easy way: Finger a note on any string except the G string. Then go up one string (higher in pitch), then one fret higher. Your two fingers will form a diagonal. This is a tritone. If you start at G, you have to move up *two* frets. (It's like playing a basic power chord on two adjacent strings.)
A flat fifth. Thus going up (in pitch), a fret higher and a string lower (in space, not pitch, haha, i.e. from E string to A string, etc.); going down in pitch, reverse it!
There are no double Flats in G flat minor. That's two pretty substantial mistakes in the first couple minutes of your video. It will be confusing to people that don't know better.
